Considering how close Tumbleweed have come to being erased from the history books – it’s all but impossible to find any of their recordings anymore – no one could have predicted the enthusiasm with which they sold out the HiFi bar. I saw more than one disgruntled punter being turned away, thinking they would be able to buy tickets on the door.

The first act is another early nineties stalwart in the shape of The Meanies. The Meanies play the sort of hard, fast, loud, yet laconically playful punk rock that would later became epitomised by bands like Frenzal Rhomb and The Hard Ons. In fact Frenzal Rhomb have admitted to being massively influenced by The Meanies, however personally I find The Meanies more appealing. Vocalist Link Meanie has the kind of voice that is immediately recognisable as both Australian and of a particular era. The bands performance is high energy and explosive and the packed crowd laps it up. The highlight is the infuriatingly catchy 10% Weird with the rest of the set just as fun but over before we know it.

By the time Kram finally takes to the stage the crowd has thinned a little and I can’t help thinking that The Meanies would have been better suited to be second. He brings few surprises musically pushing forth the same rudimentary Rock n’ Roll he always does, but he does it well. Kram alternates between singing front of stage and from behind the drum kit. When he is not behind the drums, Kit Warhurst (of Rocket Science) takes over, who, although less showy, is probably actually a better drummer. Although the crowd seems less one over than with The Meanies we can’t say it is for lack of trying as Kram coaxes the crowd and leaps around the stage. The piece that grabs the most attention though is when Kit and Kram both play the one floor tom, circling it like some sort of tribal dance. She’s My Girl and Good Love’s slow burning blues stomp go down well while the crowd is less than happy with Krams Bob Dylan aping on Turn a Light On and Down the Line. However the highpoint is the sexy Silk Suits as Kram seductively lures us to, “Get your silk suits on, get your silk suits on…”

When Tumbleweed take the stage the room has again swelled to capacity and the boys launch into rough and ready instrumental before singer Richard Lewis joins them. Whilst the band display a instrumental precision that is impressive, considering their years of absence, Lewis throws himself into the mix. Looking like he is having full body convulsions as he moves around the stage, his energy is palpable and eagerly matched by an intense mosh pit of burly men well in to their thirties.

It would seem Tumbleweed’s pioneering blend of Kyuss style stoner rock with Soundgarden grunge and the Beasts of Bourbon’s colloquial Garage Rock is finally getting the recognition it deserves. Ploughing through tracks like Daddy Long Legs and TV Genocide with a perpetual driving rhythm brought on by bassist Jay Curly the crowd goes manic and many crazed crowd surfers take a beating at the hands of gravity.

At one point a drunkard attempts to climb onto stage only to be pulled off by security, back flipping into the audience and kicking to patrons in the face smashing a pair of glasses. The slower tracks, like Acid Rain, go down just as well with old school style showing as cigarette lighters are drawn out (no mobile phone waving here.) The obligatory mishap is handled cooly as Curly states, “we couldn’t have a gig without something blowing up,” in regards to his broken amplifier.

The highlights were Carousal, which Lewis introduces as a song about going around in circles, and the awesome (Sundial) Mary Jane. The latter of which has the crowd chanting, “HEY, Mary Jane,” in an ode to the clear stoner leanings of the band almost as clear as on Mr Pharmacist. Some bands are just perfectly suited to a particular venue and on this particular Thursday night The HIFI’s sweaty, dark and dirty rooms all belong to Tumbleweed. Welcome back boys.

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